With a behemoth 30 song track list typical of the modern day streaming error, MUSIC suffers from a lack of quality control and cohesion. This can be seen on similar sounding tracks such as “OVERLY” and “DIS 1 GOT IT”. The song “TOXIC” sounds like a cheap rehash of the previous single “BACKROOMS”. For an album that has been in the works for so long, MUSIC surprisingly has lackluster mixing. It shows with things like the bizarre extended intro sequence that sounds like it could’ve been ripped off of YouTube video outro on what’s currently the album’s most popular track “EVIL J0RDAN”.

Additionally, outside of a few guest appearances, most of the features on the record are middling or drag down the project at times. An A-list artist such as Playboi Carti should be capable of producing a more diverse and creative set of collaborations than three Travis Scott features, two Lil Uzi Vert features, three Kendrick Lamar features, two Future features and a repetitive feature from The Weeknd. Even though Carti is not known for being a profound lyricist, MUSIC lacks those sparing moments of introspection that added more depth to his previous projects.

Despite being a very flawed project, MUSIC has some highlights when it focuses on expanding the sounds of Whole Lotta Red. “POP OUT” is raw, sonically unhinged, and one of the most explosive and thrilling tracks to open an album. The songs “CRANK” and “COCAINE NOSE” feel like the evolved final form of the punk-rap sound. Kendrick Lamar makes an unexpectedly fun appearance as a hypeman on “MOJO JOJO”. However, another Kendrick Lamar collab “GOOD CREDIT” pales in comparison to his collaborations with Baby Keem and is slightly underwhelming due to a dull production choice and Carti’s lethargic vocal delivery.

Out of all the various genre forays on the album, Playboi Carti is at his best when tapping into electronic and sample based sounds. The spacey production on “OLYMPIAN” and “I SEEEEEE YOU BABY BOI” is hypnotic and serves as a perfect medium for his raspy melodies. Playboi Carti delivers his finest performance on “OPM BABI” by using an eclectic vocal delivery and surrounding himself with thrilling, unrelenting gunshot effects and hype producer tags courtesy of Atlanta legend DJ Swamp Izzo. Another stellar performance on the album comes over a fun creative sample of the Rich Kidz song “Bend Over” on “LIKE WEEZY”. These sounds suit Playboi Carti well and one can only hope he continues to explore these lanes on future projects instead of rehashing cheap thrills that have already run their course in mainstream music.

Official Maurice Crawford Score: 6.8/10

The post Playboi Carti May Not Be the “MUSIC” appeared first on KRUI Radio.

Their resplendent approach is immediately noticeable throughout the immaculate buildup of the opening track “She Looked Like Me” with relaxing, pulsating synths that build up to explosive horns in the middle of the epic song. Despite making more grandiose musical choices, they still haven’t lost the catchy melodies and bridges that have always laid at the core of their music. This is best exemplified on “Death & Romance”, which might go down as the best pop song of the decade. The bright keys and catchy hook of this track centered around themes of eternal love is close to perfection with its psychedelic backdrop. “Image” is another catchy pop song with amazing bass lines that makes it nearly impossible to resist dancing.

There are many ways to objectively review an album, but the most absolute way to determine the quality and appeal of is to hear it played live. Fortunately, many students at the University of Iowa, including myself, were blessed with the opportunity of seeing them play live during the annual homecoming concert put on by SCOPE. Not only did the performance live up to my high expectations of the group, but they exceeded them by a large margin. Mica Tenenbaum’s vocals were ethereal, and the instrumentation was also cosmic with Matthew Lewin delivering on the keys and guitar.

Hearing songs off the album such as “Killing Time”, “Fear, Sex”, and a more punk like rendition of “That’s My Floor” with live guitar and drums showcased the artistry that is sometimes overlooked in their discography. The quality of the live vocals and rhythm sections were show stopping and gave new life to the songs as they evolved from the studio versions. The set was incredible with colorful, gleaming lighting fitting of their music, and came to a perfect end with the triumphant and bouncy track “The Ballad of Matt & Mica”, which gives a euphoric synopsis of the duo’s own personal lore.

In what has seemed like a major year of pop revivalism, Magdalena Bay deservedly stands at the forefront of a year of music loaded with incredible releases. It is one of the best things to witness in music when musicians at their artistic peak manage to effectively translate a cohesive, yet opulent vision to an album both conceptually and musically. This record delivered on all fronts and improved upon their first album in almost every way possible. In case you’ve never heard anything like it before, this album is pop music fleshed out at its highest level, balancing thoughtful and introspective songwriting, maximalist song arrangements, and catchy melodies that will be permanently inserted into your brain.

Official Maurice Crawford Score: 9.0 / 10

The post Magdalena Bay at an Artistic Peak, Live in the Flesh appeared first on KRUI Radio.

Having created one of the most exciting new musical movements in recent memory, the new “Slizzy” subgenre of hip-hop has been inescapable all summer. Originating from the Bronx borough of New York, Slizzy is a sleek and sexy version of Drill music combined with elements of the Jersey Club house subgenre. Easily recognizable through its signature use of looped R&B samples, the movement blew up with the Cobain’s Bay Swag collaboration “Fisherrr” finding popularity through Tik Tok.

However, Play Cash Cobain doesn’t meet this soaring level of excitement. Perhaps the most disappointing aspect of the album is its failure to evolve the Slizzy sound and showcase Cobain’s personality. The record has a strong start with the opening track “slizzyhunchodon” being a highlight of this album, allowing Cash Cobain, Quavo, and Don Toliver to seamlessly blend with great chemistry.

The next few tracks are all solid as well, adding a more atmospheric and melancholic feel to Cobain’s signature sound. Unfortunately, the album begins to fall apart after the track “problem.” The six minute posse cut over a dull sample chop of Laila’s “Not My Problem” is lifeless with subpar verses. On following tracks “turks (i apologize)” and “wassup wya,” Cobain delivers two boring and mediocre Drake imitations.

The back half of this project might be bogged down by lowlights, but there are still a few diamonds in the rough towards the end of the track list. “dunk” is a freaky club banger that has the energy lacking over much of the album. “me n payroll” has the best bear on the entire project, and on the closing track “baddest in the room,” Cobain sounds silky on a nice R&B inspired instrumental.

I know you’ve seen me repeat this talking point in past reviews, but the album is simply too long and bloated. Even though Cash Cobain has a horny, yet endearing since of humor, it cannot make up for his lack of vocal range and flat subject matter. He would be much better off following the blueprint of fellow New York native Ice Spice and stick to releasing projects in the range of 10 to 12 tracks. This would simply allow Cobain to shine more without tiring the audience with his signature but underdeveloped sound. If you trim the fat, there is definitely a stellar nine track EP within this album.

Even though there is no telling whether or not the Slizzy movement will remain relevant in the future, it has been so much fun to witness a fresh movement in hip-hop. As someone living through the recent sonic and creative stagnation of mainstream rap music for the past five years, Gen Z deserves more artists like Cobain to step up and serve as the Timbaland’s and Pharell’s of our generation. Despite this album being largely disappointing, I am nonetheless grateful for Cash Cobain’s contributions to the culture. Consider me Slizzy until the bitter end.

Official Maurice Crawford Score: 5.6/10

The post Cash Cobain: Play Cash Cobain appeared first on KRUI Radio.

On this sequel mixtape to 2012’s King of the Mischievous South Vol. 1 (Underground Tape 1996), Curry wades in familiar territory to those early days, but with improved lyrical abilities and much more confidence this time around. Hosted by legendary Memphis rapper Kingpin Skinny Pimp, this project is a love letter to the old sounds of the “Dirty South” that myself and many others have been nostalgic for from when it came onto the scene in the 1990s and early 2000s.

To truly understand this project, you have to go back to the days of Memphis rap group Three Six Mafia and iconic Texas producer DJ Screw. During this time, southern rappers were not considered to be legitimate MCs, and were often considered to be beneath their West and East Coast contemporaries. This lack of acceptance led to the creation of more experimental music that would eventually be appropriated by rappers (looking at you A$AP Rocky) all across the United States. On this mixtape, Curry’s reclamation of the sound results in one of the more fun projects released this year.

The production across this mixtape is very nostalgic and bouncy, giving Curry a strong background to deliver his dexterous and energetic flows. The opening song “ULTRA SHXT” is a strong cut of southern flavored cloud rap, with subdued vocals over a sample of 2 Low-Key’s “On That Devil Shit” creating an almost ambient feeling. Another highlight of this tape, “BLACK FLAG FREESTYLE”, contains some of Curry’s best wordplay and a show stopping performance from up and coming Texas rapper That Mexican OT.

The second half of the tape decides to take an alternating approach between grimy distorted tracks such as “SKED” and “HOODLUMZ” balanced with breezy pop-rap tracks like “COLE PIMP” and “WISHLIST”. An integral part of this project that will most likely be overlooked by others are the interludes. Despite these intermissions being short and spread throughout the tape, they add an incredible touch to the project, giving it a feel of an unrecognized demo cassette that traveled through a time portal inside a dusty box in someone’s basement.

From top to bottom, King of the Mischievous South Vol. 2 is a consistent offering that scratches an itch by dipping into nostalgia, but not reveling in it to a fault. It does this by putting Curry’s unique aggressive and distorted touch on the sound of Memphis hip-hop. We can discuss and argue the musical qualities of this project for days, but the most important thing about this tape is that it is energetic and lively. The Florida MC’s ability to switch between deeply introspective and heartfelt songs, to bangers built for maximum destruction in a mosh pit, is seriously underappreciated in the landscape of modern hip-hop. There are simply not enough artists who know how to have a good time without sacrificing quality in their music. Even though there has been a widespread decline in southern hip-hop in recent years, it is a relief that I can finally rest at night knowing the torch is in good hands.

Official Maurice Crawford Score: 8.1 / 10

The post Denzel Curry’s “King of the Mischievous South Vol. 2” and His Origins appeared first on KRUI Radio.

The greatest strength of this album is its ability to sound fresh and innovative while being deeply rooted in nostalgia. Sonically, these songs feel like a natural progression from their opus, Modern Vampires of the City. “Capricorn” has a hazy, yet groovy psychedelic vibe backed by a stellar piano track and punchy drums. “Gen-X Cops” is a grungy take on the traditional Vampire Weekend sound and lyrically ponders on the shortcomings of past generations, asking whether or not the current generations will be able to overcome their own. “Classical” is perhaps the band’s best song ever with its mellow instrumental and incredible melody leading the listener into an abrupt, but brilliant jazz passage.

On “The Surfer”, the band looks to explores some of their hip-hop influences with its relaxed bass, poetic lyricism, and ethereal horns. The brilliant production of this record is not its definitive characteristic, the songwriting is stellar too. The lyrical focus of this album surrounds reflecting on youth and coming to acceptance with aging. This album is a musical statement for the millennial generation. The touching subject matter is tackled in an eloquent and thoughtful manner that leaves you thinking long after the album is finished. The melodies of this project are light and airy, but very memorable. This album is one that you can both cry to, and sing in the car at the top of your lungs.

The brilliance of Only God Was Above Us is seldom seen in modern music. Improved songwriting coupled with strong production has allowed the band to reach new creative heights. The album’s concise ten tracks and 47 minute runtime is extremely refreshing in today’s streaming era which encourages 20 plus track “playlists”. This record sounds truly like something that a modern day equivalent of The Beatles would put together, being ever proficient.

Now having arguably released the greatest indie album in two different decades with their latest and Modern Vampires of the City, their legacy is strong. The level of greatness this band has achieved is rare in music. Perhaps it is time that we put their jerseys up in the rafters as the greatest indie band of all time.

Official Maurice Crawford Score: 9.4/10

The post Vampire Weekend Demonstrate Proficiency with “Only God Was Above Us” appeared first on KRUI Radio.

Having been to multiple rap shows in various stadiums and arenas, this performance was the most memorable one I’ve seen so far. Most rap concerts play the song through giant speakers while the artist does ad-libs and lets the crowd perform the rest of the song. Armand Hammer’s performance heavily contrasts with those other shows because they actually rap their entire songs from beginning to end without the traditional hypeman. It’s something that shouldn’t be uncommon in today’s music scene. This creates a much more intimate atmosphere for fans to connect with their favorite songs and truly witness the artistry of hip hop. Additionally, the rap duo’s style of performing adds a new dimension to their songs, allowing the audience to hear them in a new, different context, and allowing them to discover unrealized themes in the lyrics. 

The energy of the crowd was unlike anything I had ever seen before, with each person locked in like a lion towards its’s prey. People were rapping along to the songs word for word while consciously rocking their heads back and forth. The energy of the crowd was like a wave, coming and going in seismic shifts. This was absorbed by the performers, with every verse vibrating through my chest and echoing through my mind for days to come.  

Armand Hammer’s setlist was incredibly structured, as it allowed both artists to shine as both individuals and as a duo. It summed up the entirety of their careers and gave a showcase of artistic evolution over time. For me, this concert was the best of the Mission Creek Festival by and far, and there is no amount of money that I wouldn’t pay to witness this show again. I am forever grateful for the opportunity to witness hip hop in its purest form, and create an incredible life memory that I will never forget. This was a masterclass in how hip hop should be performed.  

The post Mission Creek: Armand Hammer Perform In the Purest Form appeared first on KRUI Radio.

Coming off a strong LP with I Didn’t Mean to Haunt You, the West Coast artist continues to become more versatile with his latest mixtape SCRAPYARD. This mixtape has almost everything to offer within the current musical landscape. There are traces of postmodern hip-hop, cloud rap, indie rock, and folktronica. The combination of these genres makes for a fun and creative record. Despite the various mixes of different musical genres and influences, Quadeca’s sense of melody is strong throughout the project and every hook lands.

Quite honestly, SCRAPYARD sounds like the project that artists like Yung Lean and Lil Ugly Mane have been trying to make over the entirety of their groundbreaking careers. The triumphant instrumental of the incredible “A LA CARTE” sounds like something that would sound at home on a Bon Iver record, while “GUESS WHO?” is an energetic EDM trap banger. “U TRIED THAT THING WHERE UR HUMAN” has a distant almost alien like sense of emotion that is commonly seen on Björk albums. Quadeca’s confidence throughout this record is exuberant as he tackles an array of challenging styles, putting his own emo hip-hop spin on the various genres incorporated on his latest mixtape.

One of the biggest flaws of Quadeca’s unbridled creativity is the lack of cohesive thought. Even though most of the songs off on this project sound good individually, the great variety in styles spreads the main focus thin. It leaves us with undercooked tracks like “I MAKE IT LOOK EFFORTLESS” and “WAY TOO MANY FRIENDS”. Despite Quadeca showing proficiency in many different styles of music, he has mastered few of them.

Nonetheless, the potential that he shows across the fifteen tracks of this mixtape left me awestruck with the possibility of what he could do in the future. Quadeca has the raw talent to create classic records for years to come. If he simply hones in and develops some of the styles showcased across this diverse mixtape, we are going to be in for something special in the near future. If SCRAPYARD is merely a bare bones skeleton of a great record, I have seen few that are more appealing.

Official Maurice Crawford Score: 8.2/10

The post Quadeca Scavenges Different Genre Fragments for “SCRAPYARD” appeared first on KRUI Radio.

On 2093, Yeat throws this previous formula out the window, and decides to show the world his distinct vision of hip-hop’s future. That vision is centered around techno, with trance and industrial influences. While this vision sounds incredible on paper, Yeat doesn’t quite maximize the potential of this sound.

2093 consists of futuristic synths and many other sounds that are associated with genres far out from what has traditionally been seen considered rap. The pulsating base on tracks like “Breathe” and “Riot & Set it off” could have seamlessly fit in on Mandy, Indiana’s I’ve Seen a Way. “1093” has a beautiful melody that wouldn’t sound foreign on a Nine Inch Nails project. Even though “Bought The Earth” is a decent piece of psychedelic hip-hop, but it sounds like a Travis Scott throwaway. Additionally, the 30-second cinematic intros and outros on various tracks across the album reek of musical pseudo-intellectualism. It just comes across as clichéd.

Despite the many creative peaks on the record, proper curation is once again the Yeat’s Achilles heel. In the streaming era, many artists have put out longer projects to boost sales numbers and algorithm interaction. This has dragged down the quality and potential of many projects like Whole Lotta Red or Certified Lover Boy.

Unfortunately, 2093 is the newest member of an exclusive list of “could’ve been” classics. The length of this 22-track behemoth tends to bring down the special qualities of this album and make it drag along. For some reason, this has been a recurring theme in his discography, and it has been quite frustrating to witness. Perhaps he should have taken notes from Ken Carson’s A Great Chaos. If this album could have been cut down to at least 18 tracks, much more of the project’s full potential could have been realized.  

The length of the project is just one amongst various elements that weighed this project down. An aspect worth noting is Yeat’s lethargic delivery throughout the vast majority of this project. One of the most interesting aspects of his music has been his unorthodox and experimental vocals. On Aftërlyfe, it felt like you could never expect what was coming next. That unpredictability resulted in memorable vocal takes such as those on “Heavyweight” and “Split” that are ingrained in my mind to this day. Those unconventional deliveries were strongly needed and would have made 2093 worth its length.

Even though there are some truly incredible moments on this record, the romanticized idea of what this album could have been is much more enthralling than the project we received. Perhaps younger generations may consider the album as a classic, and a blueprint of what’s to come, while I end up on the wrong side of history. In the meantime, until Yeat is able to grasp the depth of his untapped potential over the length of a full project, I am going to have to settle for only adding a select few of his songs to my playlists. 

Official Maurice Crawford Score: 6.4/10

The post Yeat and Flawed Innovation in “2093” appeared first on KRUI Radio.

Recently, I had noticed that James had not dropped an album since late June. As it turned out, this was no mere coincidence. He suffered a severe car crash in January that resulted in a broken vertebrae in his neck and multiple fractures in his legs. Even though this injury would keep most artists out of the studio, Boldy decided to push through his injuries and deliver his latest album, Penalty of Leadership. Entirely produced by Nicholas Craven, this project serves as a sequel to the previous LP they collaborated on titled Fair Exchange No Robbery. 

Image via Throw Up Magazine

Penalty of Leadership marks an improvement from both Craven and James. Craven’s production feels more spacious, emotional, and dynamic compared to the repetitive sample loops from Fair Exchange. However, the most noticeable change is in James’ lyricism. The recovery process from the car crash has not only tested his mental fortitude, but seemingly breathed new life into his lyricism. Up to this point, James was known for semi-autobiographical, but heavily exaggerated drug dealing stories.

This album marks a change in this formula as James opens up on the challenging rehab process following his brutal car crash. He also speaks on the current state of affairs for his family on tracks such as “Brand New Chanel Kicks” and “No Pun Intended.” James even flexes that he didn’t “graduate from high school, but [his] daughter got straight As” on the track with a similar name.

Boldy James’ new sense of vulnerability and sincerity since the car crash has added a new aspect to his music, and shows that there is a flawed man behind his cold deadpan delivery. It’s something not often seen from the rapper. The sparse sonic palette provided by Nicholas Craven truly allows James’ heart to shine front and center 

Official Maurice Crawford Score: 7.4/10 

The post Boldy James Embraces Vulnerability with “Penalty of Leadership” appeared first on KRUI Radio.